Declaration Gilf Kebir Protected Area Press Release
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Gilf Kebir - Wikipedia
14/9/2018 Gilf Kebir - Wikipedia Coordinates: 23°26′29″N 25°50′23″E Gilf Kebir Gilf Kebir ( ) (var. Gilf alKebir, Jilf al Kabir) is a plateau in the New Valley Governorate of the remote southwest corner of Egypt, and southeast Libya. Its name translates as "the Great Barrier". This 7,770 km2 (3,000 sq mi) sandstone plateau, roughly the size of Puerto Rico, rises 300 m (980 ft) from the Libyan Desert floor. The name Gilf Kebir was given to the plateau by Prince Kamal el Dine Hussein in 1925, as it had no local name.[1] It is known for its rugged beauty, remoteness, geological interest, and the dramatic cliff paintings-pictographs and rock carvings-petroglyphs which depict an earlier era of abundant animal life and human habitation. A caravan of tourist 4x4s seen from Contents atop a mesa in Gilf Kebir, Egypt. Geography and climate Climate Wadis History Petroglyphs 20th century exploration WWII archeology Literary setting Curiosity Ancient petroglyphs of a temperate See also era's giraffe, ostrich, and longhorned cow being herded, in the present References day Libyan Desert in Egypt. External links Geography and climate The Uweinat mountain range at the very south of the plateau extends from Egypt into Libya and Sudan. Climate Gilf Kebir Plateau lies in the heart of the eastern part of the vast Sahara Desert, and, thus, gets some of the most extreme climates on Earth. This is the driest place on the planet, not only because the area is totally rainless (the annual average rainfall amount hardly reaches 0.1 mm) but also because the geological aridity index/dryness ratio is over 200, which means that the solar energy received at the ground evaporate 200 times the amount of precipitation received.[2] Rainfall may fall every twenty years in Gilf Kebir. -
Desert and the Nile. Prehistory of the Nile Basin and the Sahara (Studies
Desert and the Nile. Prehistory of the Nile Basin and the Sahara. Papers in honour of Fred Wendorf Studies in African Archaeology 15 Poznań Archaeological Museum 2018 Miroslav Bárta The Birth of Supernatural. On the Genesis of Some Later Ancient Egyptian Concepts The following text represents a new way to understand rock-art preserved in the caves of Wadi Sura I and Wadi Sura II in Gilf Kebir, located on the southwest border of modern Egypt1. The sites are dated to the late seventh and the sixth millennia BC. The principal aim of this paper is to show that there are several elements featuring in their decoration which indicate that creators of this art formulated some very ba- sic ideas which were later on elaborated in the Nile valley and that we traditionally connect with the specific character of Ancient Egyptian civilization. These include the following motifs: running chieftain (renewing his magical powers and physi- cal forces), chieftain smiting his enemies, the ethiological myth of Earth and Sky, swimmers as the souls of the deceased individuals, creatures protecting the Neth- erworld and eventually what seems to be the earliest depiction of the hereditary principle. Surprising as it may be, the suggested link between the Gilf Kebir local populations of hunter-gatherers and cattle keepers, or the Western Desert popula- 1 The publication was compiled within the framework of the Charles University Progress project Q11 – Complexity and resilience. Ancient Egyptian civilisation in multidisci- plinary and multicultural perspective. 670 Miroslav Bárta tions in general, and the much later populations inhabiting the Nile valley finds additional support in the recent discoveries at Gebel Ramlah cemeteries located in between Gilf Kebir and Aswan and slightly later in time (Kobusiewicz et al. -
Full Article
INTERNATIONAL JOURNAL OF CONSERVATION SCIENCE ISSN: 2067-533X Volume 7, Special Issue 2, 2016: 913-934 www.ijcs.uaic.ro PRESERVATION AND RESTORATION OF THE WADI SURA CAVES IN THE FRAMEWORK OF THE “GILF KEBIR NATIONAL PARK”, EGYPT Maria Cristina TOMASSETTI1*, Giulio LUCARINI2, 6, Mohamed A. HAMDAN3, Andrea MACCHIA4, Giuseppina MUTRI2, 6, Barbara E. BARICH5, 6 1 Freelance restorer, via Flavia 16, 00062 Bracciano (Rome), Italy 2 McDonald Institute for Archaeological Research, University of Cambridge, Downing street, CB2 3ER, Cambridge, UK 3 Geology Department, Cairo University, Giza, Cairo 4 YOCOCU - YOuth in COnservation of CUltural Heritage, Rome, Italy 5 Sapienza University of Rome, P.le Aldo Moro 5, 00185, Rome, Italy 6 ISMEO, Palazzo Baleani, Corso Vittorio Emanuele II 244, 00186, Rome, Italy Abstract In 2010 the Italian-Egyptian Environmental Cooperation launched a safeguarding project for the preservation of the caves with prehistoric rock art located in the Gilf Kebir plateau in southwestern Egypt. The project was part of the cooperation program developed to establish the Egyptian Gilf Kebir National Park (GKNP) protected area. Given their bad state of preservation, the Italian conservation project focused on the Caves of Swimmers and Archers, located along the Wadi Sura. Although only very few studies of this kind have been carried out in the Saharan region, our work in the Gilf Kebir can be considered a pilot study, the results of which should be evaluated in the long term. Results obtained to date and reported in this paper provide analytical petrographic studies of the bedrock, a complete photographic and geodetic survey of the two sites, data from climate monitoring, along with a preliminary consolidation of some of the most at-risk areas of the two caves. -
Korossom Fantastic” and the Karnasahi Pastoralists, the Principal Rock Art Styles of the Eastern Tibesti
International Conference What Ever Happened to the People? Humans and Anthropomorphs in the Rock Art of Northern Africa Royal Academy for Overseas Sciences Brussels, 17-19 September, 2015 pp. 25-34 “Korossom Fantastic” and the Karnasahi Pastoralists, the Principal Rock Art Styles of the Eastern Tibesti by András Zboray* Keywords. — Human Figures; Rock Paintings; Ouri Plain; Tabesti Mountains. Summary. — The innumerable painted shelters dotting the Ouri plain along the eastern edge of the Tibesti mountains rank among the finest manifestations of Saharan rock art. The first sites were discovered in the 1930s, but the remoteness and political instability of the region prevented any systematic surveys. There was a brief window in the early 1990s, when nearly a hundred and fifty sites — the majority previously unknown — were documented during six Italian expeditions, before the Tibesti rebellion closed the area again to all outsiders. With the recent improvement of the political situation in Chad the area became accessible again, our party succeeded in taking the first high resolution digital photographs of some of the principal localities. These photos, coupled with the capabilities of the DStretch image enhancement software, permit the viewing of these very little known paintings in hitherto unseen detail. Like at practically all painting-bearing areas of the Sahara, there is a clear cultural succession in the Ouri plain, with the “Korossom fantastic” style pre-dating the very refined Karnasahi cattle pastoralist paintings. While unique in style, some features of the Korossom fantastic figures exhibit resemblance to the Roundhead style of the Tassili N’Ajjer, and also to elements of the Wadi Sora rock art repertoire. -
The Lost Oasis of Zerzura. Askwhy
The Lost Oasis of Zerzura © Dr M D Magee Contents Updated: Friday, September 10, 1999 László Almásy: The English Patient Zsolt Török in his book László Almásy, the Real "English Patient." explains that the eponymous English Patient of Michael Ondaatje’s novel, set in the 1930s, has a copy of G C MacCauley’s 1890 translation of Herodotus’ History as a source of information for his exploration of the Libyan desert. The Englishman pastes in pages cut from other books and adds his own observations. His objective was to find the lost oasis of Zerzura! The hero of the English Patient is based on the real-life explorer, László Almásy (1895-1951), although the book makes no claim to be historic. Indeed, Török says it is often hard to separate the legend of the "Father of the Sands," as the native Bedouins called Almásy, from the truth about his mysterious life. Almásy was in love with the desert, declaring: I love the desert. I love the endless wasteland in the trembling mirror of the fata morgana, the wild, ragged peaks, the dune chains similar to rigid waves of the ocean. And I love the simple, rugged life in a primitive camp in the ice-cold, star-lit night and in the hot sandstorm alike. The Unknown Sahara [translated by Z Török] Almásy was born at Bernstein to a Hungarian noble, but not titled family. His father, György, explored inner Asia during the early twentieth century, collecting birds and wildlife specimens. Almásy became interested in the new invention, the internal combustion engine. -
The 'English' Patient, Fools, Foxes and Rats: Exploration, Mapping and War in the Libyan Desert
Zsolt G. Török: The ‘English patient’, fools, foxes and rats …. Page 1 of 18 Symposium on “Shifting Boundaries: Cartography in the 19th and 20th centuries” Portsmouth University, Portsmouth, United Kingdom, 10-12 September 2008 ICA Commission on the History of Cartography International Cartographic Association (ICA-ACI) The ‘English’ patient, fools, foxes and rats: exploration, mapping and war in the Libyan Desert Zsolt G. Török Department of Cartography and Geoinformatics Eötvös Loránd University, Budapest, Hungary [email protected] ABSTRACT The character of ‘Count Almasy’ in the film ‘The English Patient’ was based on the real László Almásy (1895-1951) who explored the Libyan Desert in the 1930s. The search for Zerzura, the legendary lost oasis, resulted in different cartographic hypotheses about the desert. The mental maps of Europeans were substituted by expedition maps, published in geographical journals. The maps of the inner desert were actually based on route surveys. The featureless terrain made cartographic representation difficult: instead of conventional signs, textual information regarding desert conditions, events, observations, old caravan tracks and the routes of expeditions, were represented. From the 1930s onwards the explorers' expedition route maps became important sources for cartographic and military intelligence. The topographical map series of the inner desert, constructed by British and Italian colonial authorities, were based on expedition maps and not on actual surveys. The paper investigates the context of a group of contemporary Italian manuscript military maps in order to reveal their sources. The process of compilation and cartographic masking made the public information, the content of the expedition maps, secret military information displayed on topographic sheets. -
Arts Rupestres Sahariens : État Des Lieux Depuis 2010 Et Perspectives الفنون الصخرية الصحراوية: الواقع والمأمول منذ عام 2010 Jean-Loïc Le Quellec*
Arts rupestres sahariens : état des lieux depuis 2010 et perspectives الفنون الصخرية الصحراوية: الواقع والمأمول منذ عام 2010 Jean-Loïc Le Quellec* ملخص 2009 نرش ادلكتور محدي عبد املنعم عباس يف اعم ًمقاﻻيف العدد الرابع من حويلة أجبديات، يهدف إىل تعريف الفن الصخري وادلور املهم اذلي يؤديه هذا انلوع من ابلقايا اﻷركيولوجية يف دراسة جانب مهم من تاريخ اجلنس البرشي قبل ظهور الكتابة. ويأيت هذا املقال استجابة لدلعوة اليت أطلقها ادلكتور محدي عباس ًا؛ سلفحيث يقدم املقال اذلي بني أيدينا قائمة باﻷعمال ابلحثية اخلاصة بالفن الصخري يف منطقة الصحراء يف الفرتة بني اعم 2010 واعم 2014؛ أما اﻷعمال اليت أجريتقبل تلك الفرتة فيمكن الرجوع إيلها من خﻻل اﻻطﻻع ىلع مؤلفات دكتور ألفريد موزويلين يف الفرتة بني اعم 1990 واعم 1999، وكذلك اﻻطﻻع ىلع مؤلفايت يف الفرتة بني اعم 2000واعم 2009. Issue No. 12 47 Downloaded from Brill.com10/06/2021 02:23:51PM via free access Jean-Loïc Le Quellec « Toute connaissance est, aujourd’hui, nécessairement, par « calBC », ont été calculées avec OxCal 4.2 une connaissance comparée ». en utilisant la courbe de calibration de Bronk Paul Valéry Ramsey & Lee 2013 et elles sont généralement arrondies à la dizaine la plus proche. 1. Introduction Dans cette même revue, Hamdi Abbas Ahmed 2. Nouveaux documents Abd-el-Moniem a publié en 2009 un plaidoyer Encore trop rares sont les auteurs qui publient pour l’utilisation de l’art rupestre comme une des corpus détaillés des sites qu’ils ont visités, source archéologique à croiser avec les données mais cette tendance commence fort heureusement à paléo-environnementales pour écrire l’histoire s’inverser, malgré les difficultés actuelles. -
Arab Republic of Egypt
Ministry of State for Environmental Affairs Egyptian Environmental Affairs Agency Nature Conservation Sector Action Plan for Implementing the Convention on Biological Diversity’s Programme of Work on Protected Areas Arab Republic of Egypt Submitted to the Secretariat of the Convention on Biological Diversity March, 2012 By Dr. Khaled Allam HARHASH Table of contents: PoWPA Focal Point................................................................................................................................. 7 Lead implementing agency ...................................................................................................................... 7 Multi-stakeholder committee ................................................................................................................... 7 National Targets and Vision for Protected Areas ...................................................................................... 8 Coverage ................................................................................................................................................. 9 Description and background .................................................................................................................... 9 Governance types .................................................................................................................................... 9 Key threats .............................................................................................................................................. 9 Barriers -
La Faible Représentation D'animaux Sauvages Dans L'art Rupestre Du
Du Sahara au Nil: la faible représentation d’animaux sauvages dans l’art rupestre du désert Libyque pourrait être liée à la crainte de leur animation Jean-Loïc Le Quellec, d’Huy Julien To cite this version: Jean-Loïc Le Quellec, d’Huy Julien. Du Sahara au Nil: la faible représentation d’animaux sauvages dans l’art rupestre du désert Libyque pourrait être liée à la crainte de leur animation. Les Cahiers de l’AARS, Saint-Lizier : Association des amis de l’art rupestre saharien, 2009, pp.85-98. halshs- 00696416 HAL Id: halshs-00696416 https://halshs.archives-ouvertes.fr/halshs-00696416 Submitted on 11 May 2012 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Du Sahara au Nil: la faible représentation d’animaux dange- reux dans l’art rupestre du désert Libyque pourrait être liée à la crainte de leur animation Julien d’Huy * et Jean-Loïc Le Quellec ** Résumé : fuyant l’aridification de leur territoire pour Abstract : Fleeing the increasing aridity of their terri- rejoindre les régions plus clémentes de la vallée du Nil, tory in order to reach the more favourable regions of peut-être en empruntant ce qui allait devenir la piste the Nile valley, perhaps following what was to become d’Abū Ballās, les habitants du Djebel el-’Uweynāt et the Abu Ballas track, the inhabitants of the Djebel el- du Gilf Kebīr auraient emporté avec eux leur crainte ‘Uweinat and the Gilf Kebir may have taken with them de représenter des animaux dangereux. -
Cave of Beasts’, SW Egypt
International Conference What Ever Happened to the People? Humans and Anthropomorphs in the Rock Art of Northern Africa Royal Academy for Overseas Sciences Brussels, 17-19 September, 2015 pp. 301-319 Range and Categories of Human Representation in the ‘Cave of Beasts’, SW Egypt by Frank Förster* & Marie-Helen Scheid** Keywords. — Egyptian Sahara; Gilf Kebir; Wadi Sura; Prehistory; Computer-aided Rock Art Recording and Analysis; Configuration of Human Representation; Typology; Digital Image Enhancement. Summary. — Despite its name, which refers to a few dozen striking representations of mysterious headless creatures, the prehistoric imagery of the ‘Cave of Beasts’ in Gilf Kebir’s Wadi Sura region (SW Egypt), one of the most important rock art sites in the entire Sahara, is dominated by thousands of human figures. They occur in various types, postures and scene compositions, and are often superimposed by other drawings, enabling consideration of the relative chronology. In absolute dates, Wadi Sura’s prevailing rock art can generally be attributed to a society of hunter-gatherers roaming the area sometime between c. 6500 and 4400 cal BC. Based on a detailed computer-aided recording of the individual figures, this paper aims to demonstrate the range and variety of human representation in the ‘Cave of Beasts’ and attempts to distinguish classes, (sub-)categories and types, which might help to shed some light on both the stylistical/chronological development and the meaning and significance of rock art at this unique site. Introduction Discovered by Italian businessman Massimo Foggini and his son Jacopo in May 2002, the so-called ‘Cave of Beasts’ in the Wadi Sura region of the Gilf Kebir Plateau in southwestern Egypt is one of the most important prehistoric rock art sites in northern Africa (figs. -
Saharan Rock Art: Local Dynamics and Wider Perspectives
Arts 2013, 2, 350-382; doi:10.3390/arts2040350 OPEN ACCESS arts ISSN 2076-0752 www.mdpi.com/journal/arts Article Saharan Rock Art: Local Dynamics and Wider Perspectives Marina Gallinaro * Dipartimento di Scienze dell’Antichità, Sapienza Università di Roma, Via dei Volsci 122, 00185 Rome, Italy; E-Mail: [email protected] * Author to whom correspondence should be addressed; E-Mail: [email protected] Received: 31 October 2013; in revised form: 12 November 2013 / Accepted: 14 November 2013 / Published: 10 December 2013 Abstract: Rock art is the best known evidence of the Saharan fragile heritage. Thousands of engraved and painted artworks dot boulders and cliffs in open-air sites, as well as the rock walls of rockshelters and caves located in the main massifs. Since its pioneering discovery in the late 19th century, rock art captured the imagination of travellers and scholars, representing for a long time the main aim of research in the area. Chronology, meaning and connections between the different recognized artistic provinces are still to be fully understood. The central massifs, and in particular the "cultural province" encompassing Tadrart Acacus and Tassili n’Ajer, played and still play a key role in this scenario. Recent analytical and contextual analyses of rock art contexts seem to open new perspectives. Tadrart Acacus, for the richness and variability of artworks, for the huge archaeological data known, and for its proximity to other important areas with rock art (Tassili n’Ajjer, Algerian Tadrart and Messak massifs) is an ideal context to analyze the artworks in their environmental and social-cultural context, and to define connections between cultural local dynamics and wider regional perspectives. -
Swimmers and Archers in Context: Archaeological Investigations Along the Wadi Sura, Gilf Kebir, Egypt
Swimmers and Archers in context: Archaeological investigations along the Wadi Sura, Gilf Kebir, Egypt Giulio Lucarini∗†1,2,3, Giuseppina Mutri4, Mohamed Hamdan5, Juan Luis Fern´andez-Marchena6, Dario Sigari7, and Barbara E. Barich8,3 1Institute of Heritage Science, National Research Council of Italy (ISPC-CNR) { Italy 2University of Naples "L'Orientale" { Italy 3International Association for Mediterranean and Oriental Studies (ISMEO) { Italy 4The cyprus institute { Cyprus 5Cairo University { Egypt 6Universitat de Barcelona { Spain 7Universit`adi Ferrara { Italy 8Fondazione Roma Sapienza { Italy Abstract This communication presents the results of fieldwork and analyses carried out by the Gilf Kebir Archaeological and Conservation Project in the framework of the Italian-Egyptian En- vironmental Cooperation. In 2010 a programme of conservation of the caves with prehistoric rock art located along Wadi Sura, Gilf Kebir Plateau (Egypt) was launched. Here we present the results of: 1) the excavation of the Cave of Swimmers deposit; 2) the technological and functional studies of the lithic and ostrich eggshell artefacts; 3) the digital restoration of the caves' rock art images. The caves of Swimmers and Archers are two shallow shelters that open in the Palaeozoic sandstone at the southwestern foot slope of the Abu Ras plateau, northwestern Gilf. During fieldwork seasons carried out between 2010 and 2013, archaeolog- ical investigations dealt primarily with both the inventory and documentation of the rock art motifs and the excavation of the Cave of Swimmers deposit. The excavations revealed a regular hardened sandstone bedrock which was likely used as an occupation floor by the groups populating the area. Sub-circular pits cut into this bedrock floor were possibly used as grinding pits.